John A. Dinkel, Steven Moody, East Asian Languages Creating a useable database required a lot more work than I originally expected. While we completed a major part of the project, the creation of the database, the coding and formatting of the tool was simply beyond the scale we could handle. However, in our attempts to code […]
Using Writer’s Notebooks and Tutoring with Alternative High School Students
Alexis Cramer and Dawan Coombs, English Introduction I began this project with a goal to determine how I could help my at-risk students become more engaged in learning. Research encourages teachers to use relevant pedagogical tools to engage students. While I agree with that conclusion, I felt it was still too broad to be effective. […]
The Darmstadt Haggadah: A Jewish Condemnation of the Eucharist and a Re‐assertion of the True Seder
Samantha Burton, Elliott Wise, Art History Historically, Jews have been cast as the demonic “Other” in Renaissance art. Depicted in gaudy apparel with grotesque faces, Jews are often portrayed as villains—perpetrators of Christ’s suffering in crucifixion scenes and defilers of the host, or sacramental bread, in scenes portraying the Eucharist. Immersed in an environment of intense […]
The Birdcage as a Semiological Signifier for Submission in Ambrogio Lorenzetti’s Effects of Good Government
Claralyn Burt, Elliott Wise, Art History/Comparative Arts & Letters Ambrogio Lorenzetti’s fresco cycle, The Allegory of Good and Bad Government (1339), decorates the walls of the “Room of Peace” (Salla della Pace) in the municipal headquarters of the medieval, Tuscan city state of Siena. Traditionally celebrated for their secular subject matter, these frescos employ countless carefully […]
Early Orientalist Sentiments in Dutch Baroque Still Life Paintings: A Study of Harmen Steenwyck
Maika Bahr and Professor Martha Peacock, Art History (Comparative Arts and Letters) Introduction : The relationship between the Dutch Republic and Japan during the seventeenth century provoked early Orientalist feelings that were manifested in still-life paintings. Harmen Steenwyck’s Still Life: An Allegory of the Vanitas of Human Life from 1640, depicts an intricate, Japanese sword […]
Changing the Culture of Public Transportation at BYU
Samantha Aramburu and Jamin Rowan, Department of English Introduction Public transportation is an entity that is fast-growing in the state of Utah. While the Utah population is generally dependent on their cars, there are growing amounts of people that rely on public transportation to get where they need to go. There are several different transit systems […]
Fairy-Tale Teleography and Visualizations (FTTV)
Jill Terry Rudy, English and Jarom McDonald, Office of Digital Humanities (through March 2016 Evaluation of Academic Objectives This project has leveraged data processing and visualization methods that are becoming significant paradigms in digital humanities scholarship; specifically, we have repositioned the existing teleography of fairy tales on television from Channeling Wonder into a data corpus […]
The Sophie Mentored Research Project: The Critically Annotated Collected Works of Elisa von der Recke and The Missionary Imagination
Approaching Arabic Automatic Speech Recognition with Usage
James Longstaff and Deryle Lonsdale, Linguistics Introduction and Purpose The purpose of this project is to improve Arabic automatic speech recognition (ASR) by distinguishing between different dialects with the use of machine learning. Machine learning is the teaching of computers to recognize and distinguish between categories by themselves. Machine learning works off of statistical and […]
Postmodern and Early Modern Theology: Derrida meets Calderón The Derridean Parergon and Painting Theory in Calderón’s El pintor de su deshonra
Camilo Mejia and Faculty Mentor: Matthew Ancell PhD, Comparative Arts and Letters Simone Heller-Andrist’s The Friction of the Frame ingeniously employs the Derridean parergon as a methodological approach to analyze the mechanisms involved in the reading process. In The Truth in Painting, Derrida uses the term parergon in the context of a frame in a […]
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